The project begins as a simple prompt: make a piece that refuses a single purpose. The result is playful and purposeful at once — an object that invites exploration and rewards curiosity. The designer’s brief (to offer flexibility, craft economy and a hint of mystery) produces strict rules: nested parts, intuitive affordances, and a visual language that reads clean and calm when static but reveals function with a touch or a slide.
Oribstudio — studio context
The studio approach privileges research-driven material choices and small-batch production. That studio mindset shows in the project’s insistence on near-zero waste, numbered individual pieces and tight detailing so each unit carries a distinct identity while remaining part of a coherent family.
Product snapshot — what To Dar To actually is
To Dar To is a layered, multifunction furniture object that can act as a low chair, a bedside lamp, a coffee table or a stool. Its form language is deliberately ambiguous: low, cylindrical volumes that nest and slide into one another, with concealed compartments and a soft-touch control for an integrated light. Two preset heights and sliding doors activated by subtle gestures let the user discover functions rather than be told them.
Oribproduct — client brief and positioning
The client brief emphasised versatility and craft-market positioning: produce a product that reads as collectible, is easy to ship and install, and signals responsible material use. Numbering each piece and delivering them made-to-order under the buyer’s name transforms a furniture object into an artisan object—an ownership story as much as a functional purchase.
Iran — site, craft and material story
Material choices are locally informed. Patterned plywood is the hero: it machines cleanly, yields strong, lightweight panels and allows a nesting strategy that produces near-zero offcuts. The visual grain of plywood becomes part of the aesthetic: edges, exposed layers and rhythm of veneers read like contour lines, giving each piece a fingerprint that changes with orientation and light.
Design mindset — rules that create mystery
Good ambiguity comes from rules, not randomness. The design follows a few strict guidelines: (1) every moving part must also be a structural element; (2) assembly must be tool-light or tool-free; (3) surfaces should both conceal and reveal — sliding panels hide storage and trigger behavior; (4) the light should feel like a discovery, coming on with a touch. These constraints prevent gimmickry and let the object keep dignity while surprising users.
Mechanisms & interaction — subtlety over spectacle
The motion language is deliberately low-energy: sliding doors that move on captive runners, indexed heights that click into place, and touch-activated lighting using capacitive or low-force push switches. The sliding action is tuned to feel smooth but definite (no loose rattles). Because the object must perform as seating, the mechanisms are load-rated and located so structural loads bypass moving skins.
Awards & recognition
To Dar To received an Honorable Mention at the International Design Awards — recognition that validates the project’s combination of craft, functional novelty and production readiness. This accolade helps the product reach international visibility and reassures professional buyers about its design rigor.
Design lessons — actionable takeaways
Design ambiguity with rules: constrain discoverability so users enjoy discovery instead of confusion.
Prototype at human scale early — small tweaks in edge radius or panel depth shift user perception radically.
Optimize cutting nests to reduce real material cost — sustainability and economy often align.
Make electronics serviceable — repairability extends product life and brand trust.
Numbering and storytelling turn furniture into collectible products, unlocking new commercial models.
